3D-Printed Steel Ruler Positioning Block: 45°/90° Marking & Critical Dimensions

A marking tool can look finished long before it works as intended. With a steel rule positioning block, the question is not only whether the body presents 45° and 90° edges. It is also whether the rule sits where you expect when you bring the tool to a piece of wood.

That small question shaped Version 4 of my 3D-printed positioning block.

Physical photograph: the printed V4 block with a steel rule inserted.

Combining two useful functions

I began with a compact block that offered two common reference angles. The 90° face helps when a line must cross a board squarely; the 45° face offers another familiar layout direction. This is an example of the Combine step in SCAMPER: putting related functions into one tool, then checking whether they still work well together. It is the same question I explored when combining functions in another printed design.

The steel rule is the working edge, so the printed body needs to position it reliably. A printed thumb screw pushes from one side. The exterior reference faces then meet the edge of the workpiece while the ruler remains available for marking.

Physical photograph: the body and matching printed screw.

A small dimension changes the contact

In Version 3, the rule rested on a seat against a straight shoulder, with the screw contacting its opposite edge. The CAD section below makes that arrangement visible. It established the basic relationship, but it also drew attention to the rule's upper edge: a flat shoulder does not place a lip above it.

V3 CAD section: screw, ruler and flat shoulder before the retaining change.

Version 4 adds a 2 mm-high, 2 mm-deep undercut with a 45° internal face along that shoulder. The rule tucks beneath the lip; the existing screw has enough extra travel to press it toward the sloping face. The screw trough was extended by 2 mm to make room for this movement. This is a digital design result, not a claim of measured holding force.

The number that matters first is the thickness of the actual steel rule. The CAD checks considered rules from 0.3 to 1.0 mm thick. Within that range, the geometry gives 1.7 to 1.0 mm of insertion beneath the lip. The 2 mm dimension describes the retaining recess, not a typical rule thickness. This follows the same principle as modelling the accessory before sizing the product around it.

V4 CAD section: the 45° lip and its relationship to two ruler thicknesses.

Physical photograph: the printed profile. The photograph does not measure grip strength.

Function and finish belong together

The body remains about 80 × 55 × 18 mm, with a 45° diagonal reference face, a 90° face and a round finger opening. The softened outside corners and edges carried forward from Version 3 make the form look more resolved and feel less abrupt. I kept the functional junction at the rule seat crisp, because rounding that point would change the contact with a thin rule. In a design drawing, form, function and critical dimensions should support one another rather than be treated as separate concerns.

V4 CAD drawing: body envelope and the two workpiece-contact faces.

Physical photograph: one reference-face orientation at a workpiece edge.

Physical photograph: an alternative layout orientation.

The V4 download includes the body, matched thumb screw and a thread-fit coupon. The printed thread is a custom pair, so I would check the coupon first, inspect the retaining lip in the slicer, then test the assembled tool with the particular rule and workpiece before making a project mark. The supplied photographs show a printed example; they do not establish marking accuracy or long-term retention.

Download the Steel Rule Positioning Block V4 files on Gumroad.

Small details such as the rule's thickness, a two-millimetre recess and a carefully kept sharp contact edge decide whether combining useful features becomes a useful tool.

#SteelRule #MarkingGauge #SCAMPER #CriticalDimensions #3DPrinting #Woodworking #DesignAndTechnology #DesignJournalSOS

Like my contents? Support me, support my work? Buy me a Coffee?

From Portable Fan to Speaker Holder: SCAMPER, AI and 3D Printing

A portable fan, a rattan pattern and a small Bluetooth speaker became the starting points for this project.

I wanted to design a holder for my Xiaomi portable speaker, with its circular grille seated flush at the top. The process brought together several ideas I often discuss with students: observing existing products, using SCAMPER, developing a form and checking whether it can actually be made.

It also gave me an opportunity to build an AI-assisted workflow around a real design problem.

Photograph: the printed holder with the speaker fitted.

Begin with the object you are designing for

Before developing the holder, I examined the speaker from different directions.

Front

Back

Side

Photographs: each view reveals information that a single picture cannot provide.

The speaker measured 52 mm in diameter and 24 mm thick, with a mass of 66.2 g. These figures became design constraints.

The diameter and thickness informed the receiving socket. The mass mattered because the speaker would sit high above the tabletop, towards the front of the holder. Its position needed to be considered together with the base.

Inspecting the details

Measuring the mass

Photographs: record dimensions, mass and access requirements before modelling.

For students, this is a useful habit: connect every measurement to a design decision. A measurement becomes valuable when it helps determine what to make.

SCAMPER: combine, adapt and modify

The main form came from a portable handheld fan. Its upright body and curved head suggested a way to raise the speaker and orient it towards a listener.

I combined this with a rattan-inspired pattern to develop the holder’s surface.

Form reference

Pattern reference

Supplied design references: the fan informed the overall form; the rattan informed the pattern.

This is Combine in SCAMPER: bringing selected characteristics together to serve a new purpose.

Adapt followed. The area corresponding to the fan outlet became a socket for the speaker. The woven appearance became a pattern of openings in a printed shell, with shallow patterning over the closed base.

Modify helped develop the proportions, speaker orientation and base.

This follows the approach in my earlier post on concept borrowing and idea development: identify a useful characteristic, then develop it for the current design situation.

There is no need to force every SCAMPER letter into one project. What matters is explaining how a prompt changes the idea and why that change is useful.

Early CAD preview: the combined idea becomes a model that can be inspected.

Develop the form through specific revisions

I wanted the speaker’s axis tilted 20° above horizontal, aiming it towards a listener seated above desk level. This was a positioning intention; improved listening performance would need evaluation.

The early model also had an awkward interruption around the back of the bend. I returned to the fan reference and requested a continuous circular section flowing into a seamless curve.

CAD comparison: refine the transition while retaining the intended speaker angle.

I subsequently removed the rectangular access openings so the rattan pattern continued across those areas. This improved visual continuity, but also restricted access for cleaning out supports and handling the speaker.

CAD comparison: removing a feature introduces consequences as well as visual changes.

The developed holder was 160 mm tall, with a 60 mm body diameter and a 120 mm diameter, 5 mm thick base. The wider base addressed the raised speaker’s position. Physical stability still belongs in the evaluation stage.

Front view

Rear view

CAD views: inspect the design from several directions, including surfaces hidden in the presentation view.

As I explained in combining ideas and further refinements, combinations need continued development to become practical solutions.

How I built the AI-assisted workflow

I organised the work into a repeatable sequence:

Measure and photograph → provide references and constraints → generate a model → inspect → revise → check print preparation.

I used Codex to help generate and revise the model, prepare previews and check the geometry and slicing. My role was to establish the requirements, judge the results and give specific feedback.

For example, identifying an interrupted rear contour and requesting a seamless curved transition gave the revision a clear target.

For students using AI, preserve this reasoning in the design journal. Show the input, the result, the issue you noticed and the change you requested. That record makes your contribution visible.

Appearance also affects manufacturing

The perforated body needed consideration during print preparation, particularly around the tilted head and speaker socket. The saved support preview shows where temporary structures were generated.

Slicer preview: plan how supports will be removed as well as where they are needed.

I also explored a smooth, hollow alternative while retaining the main dimensions.

The reviewed patterned project had an estimated print time of 6 hours 17 minutes. The smooth version was estimated at 3 hours 57 minutes—approximately 37% shorter. These were slicer estimates with retained process settings; the changed geometry and base colour coverage both affected the comparison.

AI-generated visualisation guided by CAD previews—not a photograph or dimensional drawing.

Bring the learning back to evaluation

The finished photograph shows the speaker fitted into the printed holder. A fuller evaluation should ask:

• Can the speaker be inserted and removed conveniently?
• Does the holder remain stable during ordinary handling?
• Is charging access manageable?
• Does the orientation suit the intended listening position?
• Are the patterned appearance and printing time a worthwhile trade-off?

Teachers can use this sequence as a design-journal exercise. Ask students to identify what they borrowed, explain each modification and propose a test for each important requirement.

A convincing design journal shows how decisions develop—and what evidence is still needed to judge the result.

#XiaomiSpeakerHolder #SCAMPER #ConceptBorrowing #3DPrinting #AIAssistedDesign #DesignProcess #DesignAndTechnology #DesignEducation #DesignJournalSOS

Like my contents? Support me, support my work? Buy me a Coffee?

Enhancing Ideation in Design and Technology Classes: A Practical Guide for Teachers

Introduction: 

In Design and Technology (D&T) education, guiding students through the ideation process can be challenging. Both teachers and students may face the dilemma of choosing the best approach to help students start their creative journey. While there may not be a definitive way to approach ideation, a simple, logical, and practical guide can significantly enhance the decision-making process and enable students to produce quality work from the start.

The Three-Step Ideation Guide

The three-step ideation guide incorporates Shape Borrowing, Concept Borrowing, and SCAMPER techniques. This structured approach ensures a comprehensive and innovative ideation process, allowing students to systematically generate, enhance, and refine their ideas.

Step 1: Shape Borrowing

Overview: Shape Borrowing is a visually oriented technique where students draw inspiration from existing shapes, forms, and designs. This method provides a tangible starting point, making the brainstorming process less intimidating.

Rationale:

• Encourages creativity by utilizing existing forms as a foundation.
• Generates visually appealing initial ideas quickly.
• Reduces intimidation by providing concrete shapes to work with.

Action Plan:

• Look at various sources of inspiration (nature, architecture, everyday objects).
• Sketch at least 5 different designs based on interesting shapes and forms.

Step 2: Concept Borrowing

Overview: Concept Borrowing involves studying various existing products to identify and adapt innovative, clever, or useful features and functionalities. These products can come from a wide range of categories with similar functionalities. The identified elements are then adapted and modified to inspire new ideas and solutions for the current design project.

Rationale:

• Leverages proven solutions, reducing the risk of functionality issues.
• Encourages innovative combinations of existing features.
• Helps generate high-quality initial ideas that can be further refined.

Action Plan:

• Identify existing products with relevant features or functionalities.
• Integrate these features into your initial designs. Modify as necessary to fit your design theme and target user needs.

Example: A student might use the concept of a multi-layered, colored-paper storage table designed for children and adapt it into a dining table with similar multi-functional features. This involves identifying the clever aspects of the original design and reimagining them in a new product context.

Step 3: SCAMPER

Overview: SCAMPER stands for Substitute, Combine, Adapt, Modify, Put to another use, Eliminate, and Reverse. This technique encourages thinking about the design from multiple angles, leading to comprehensive and well-rounded ideas.

Rationale:

• Provides a systematic approach to exploring various aspects of a design.
• Encourages deeper thinking and exploration of the ideas generated.
• Ensures that the designs are innovative and well-thought-out.

Action Plan:

• Use the SCAMPER technique on your enhanced designs:
  • Substitute: What materials or components can be replaced?
  • Combine: Can you combine elements from different designs?
  • Adapt: How can you adapt existing features to better suit your needs?
  • Modify: What can be modified to improve the design?
  • Put to another use: Can any parts be used differently?
  • Eliminate: What can be removed to simplify the design?
  • Reverse: Can any processes be reversed or done differently?

Conclusion

Starting with Shape Borrowing helps students generate initial visual ideas. Concept Borrowing enhances these ideas by integrating useful features, and SCAMPER refines them systematically. This structured approach ensures a comprehensive and innovative ideation process.

By following this simple, logical, and practical guide, teachers can make the decision-making process more effective and enable students to begin quality work immediately. While there may not be a single best way to approach ideation, this guide provides a solid foundation for generating, enhancing, and refining ideas in D&T classes.

Additional Resources:

• Visit the blog for more examples and resources: Design Journal SOS.

Feel free to share thoughts and experiences in the comments below! How have you guided students through the ideation process? What techniques have worked best? Let's create a collaborative space to enhance D&T education.

Keep a look out for the "D&T Design Journaling for Students" GPT built to assist students in their Design & Technology (D&T) design and make Design Journal coursework from start to end. 

The Ultimate Design Journaling Guide GPT

If you want to try it, email mrdanielsos@yahoo.com.sg to request for a 1-week trial.

#DesignAndTechnology #DandTEducation #IdeationTechniques #ShapeBorrowing #ConceptBorrowing #SCAMPER #CreativeThinking #InnovationInEducation #StudentProjectIdeas #DesignJournaling #PracticalGuideForTeachers #DTStudents #TeachingInnovation #StudentCreativity #DesignProcess #DesignThinking #ClassroomInnovation #EducationResources #TechniquesForTeachers #ProjectBasedLearning #CreativeEducation #StudentEngagement #DesignIdeation #HandsOnLearning #DesignInspiration #EffectiveTeaching #STEMEducation #DandTProjects #TeacherResources #LearningByDesign #DesignEducation

Three Levels of Using SCAMPER in Ideation

SCAMPER is a popular technique for ideation and development in design. It provides a structured method for generating creative ideas and solutions. The ability to use SCAMPER effectively varies depending on a student's aptitude, competency, and proficiency in the art of designing, visualizing, and drawing. 

By structuring SCAMPER into three distinct levels, students of varying abilities can engage with this powerful tool, ensuring they have the opportunity to develop their ideation skills progressively.

3-Levels to Use SCAMPER Suitable for Every Design-Ability Level

Level Pro SCAMPER Example

……………………………………………….

Level 1 (Basic Level):

At Level 1, the student simply uses one SCAMPER acronym at a time independently for each modification of the basic form.

The student will either use one acronym at a time in sequence or choose those that they can manage and ignore the rest. Each acronym used results in an exclusive design, meaning if three acronyms are used, three exclusive designs are produced. 

The outcome of the designs matches the number of acronyms used, providing a straightforward and manageable approach for beginners.

Level 2 (Intermediate Level):

Level 2 represents an intermediate stage where the student has developed the competency and proficiency to merge two or more independent modified ideas into one. 

This process is dependent on the student's capacity and proficiency, as well as their ability and aptitude for design. Typically, when one idea is combined with the basic form, it will automatically require modifications. Basic modifications to the Level 1 forms are necessary to produce a new, integrated design after merging two SCAMPER elements from Level 1. 

This stage begin to challenge students to think more critically and creatively about combining and enhancing their ideas.

Level 3 (Pro Level):

At Level 3, the student has a thorough understanding of SCAMPER and possesses the aptitude and intellectual capacity for advanced design. 

The student can use Levels 1 and 2 at will, applying SCAMPER elements in any order and not necessarily in sequence. Not every acronym needs to be used, which allows for a high level of free play and creativity. At this level, the basic form evolves continuously as SCAMPER elements are added, reflecting the progression and sophistication of the ideation process. 

The Pro Level encourages students to innovate and refine their designs dynamically, utilizing SCAMPER flexibly to achieve complex and well-developed outcomes.

Conclusion

This structured approach to using SCAMPER, from Level 1 to Level 3, provides a clear pathway for both teachers and students in Design & Technology. It ensures that students can gradually build their skills and confidence in ideation, ultimately reaching a level where they can fully exploit the creative potential of the SCAMPER technique.

If you need any help or clarification, do not hesitate to write to me.

#DesignThinking #SCAMPER #Ideation #CreativeProcess #DesignEducation #StudentCreativity #TechnologyInEducation #DesignAndTechnology #InnovationInDesign #TeachingTools #DesignSkills #Prototyping #StudentDevelopment #EducationStrategy #ClassroomInnovation #CreativeLearning

Mastering Idea Evolution: Developing High-Quality Concepts

Explore the process of idea evolution in design and technology. Learn how to develop and refine your ideas for optimum results. Discover the power of SCAMPER and iterative questioning for creating high-quality concepts. Coming up with ideas can be a daunting task, especially when you have to present multiple ideas. However, it is important to remember that the quality of an idea is more important than the quantity. 

In this blog post, we will delve into the process of idea evolution and how it can lead to the development of high-quality concepts.

1. When brainstorming, it's crucial to focus on generating a few independent ideas that possess unique features and functions. 
• Instead of sketching 5 or 10 unrelated ideas, this approach allows you to create a solid foundation for the evolution process. 
• Keep in mind that the teacher's requirement for multiple ideas can still be fulfilled by developing a few diverse and distinct concepts.
2. Once you have these independent ideas, it's time to combine their features and functions into an ultimate idea. To accomplish this, you can 
• utilize the SCAMPER technique. SCAMPER stands for Substitute, Combine, Adapt, Modify, Put to another use, Eliminate, and Rearrange. 
• By applying these strategies, you can refine and enhance your concepts by exploring alternative possibilities.
3. However, idea evolution doesn't stop there. It's an iterative approach that involves questioning and continuous improvement. 
• Carefully consider the functionality, materials, forms, colors, and other aspects that can make your idea better. 
• Embrace the development process and constantly ask yourself questions to uncover potential improvements and enhancements.
4. Creating models and conducting tests play a vital role in the evolution process. 
• By prototyping and evaluating your ideas, you can gather valuable feedback and identify areas that need further refinement. This iterative approach allows for constant improvement and ensures that your idea evolves into its full potential.

The evolution of an idea is essential to ensure that the final product is of the highest quality. By dedicating time and effort to the process, your ultimate idea can transcend its initial form and become a reality. Embrace the journey of idea evolution and unlock the power of developing high-quality concepts.

……………………………………………………..

Let me know in the comments what else you like to learn and watch.

FOLLOW and LIKE on Facebook to get updates as soon as a new post is up: https://www.facebook.com/designjournalsos

Support me, support my work? Buy me a Coffee? https://www.buymeacoffee.com/mrdanielsos

Idea Generation: How to begin? Shape Borrow? Inspiration? Research? SCAMPER? What Questions?

Practical tips and insights on how to Generate Ideas starting with Shape Borrowing - Just the way how Mr Daniel would do it.

This example is a student’s work and he was clearly stuck. I took his paper and did a photocopy and attempted a re-work. To show you how mrdanielsos would have done it differently. And effectively.

How go go from ‘STUCK’        to              ‘FREE FLOW’

Student wants to design and make something that can wipe a table dry instantly. I did not know why he chose a snail toy for a start. Obviously because of this choice, he did not know what to do next. 

I can fully understand because the paper seemed blank. Lacking in clarity. etc. In this video, I will show you from start to finish how I would get out of this predicament of getting stuck with this seemingly impossible starter with a snail toy for a product to dry a table. 

What you’ll see and learn from this video is done LIVE on the spot without pre-preparation or plans. I am approaching this as if I am actually trying to ideate on the spot.

In this video you will learn how to set your ideation page clearly. What you need to state in advance. What you need to know. How to make use of your Design Specifications and Product Research to your advantage. The SCAMPER technique will also be explained and I’ve used ‘Combine’ and ‘Eliminate’ in this video. I also spoke briefly about ergonomics and anthropometric and how they will include the size and form of the design. You will also learn what you can do after you have drawn a solution (or an idea). What to do next? What questions to ask? How to ask questions? etc.

If you like the video and my contents, please Subscribe, LIKE and Share. 

Let me know in the comments what else you like to learn and watch.

FOLLOW and LIKE on Facebook to get updates as soon as a new post is up: https://www.facebook.com/designjournalsos

Support my work? Buy me a Coffee? https://www.buymeacoffee.com/mrdanielsos

Idea Generation Techniques - Which and When to Use?

1) For 'N' and 'O' Level students looking for the complete Design Journal self-help links please click here or scroll down to "Design Journal 2015 | Complete Set of Post links for Design Journaling from Beginning to the End".

2) Click 'here' for "Secondary ONE - 2015 - A (Simple) Wood Note Holder (Starter) Project" & Drawing Practice".

3) Click 'here' for "Secondary ONE - 2015 - Design Journal - A Pen/Pencil + Note Holder".

------------------------------------------------------------------------------------------------------

In the Singapore Design & Technology Syllabus, there are a few Idea Generation Techniques mentioned and taught from the textbook. They are

1. Attribute Listing.
2. Morphological Analysis.
3. Relay Thinking.
4. Shape borrowing (found in the lower secondary textbook).
5. The S.C.A.M.P.E.R. technique.

I will not repeat what you can find online or from the textbook on what they are and how the various techniques can be used. But you'll find my 'reviews' on the techniques of which I hope you can end up making a better choice on which and when to use for your coursework. 

Avoid the one method fits the whole class pitfall. e.g. everybody use 'shape borrow' or everybody use 'morphological analysis'. Every project is unique and should be approached with the most appropriate techniques. This is the same with choice of 'research' and 'decision making' techniques throughout your design journal.

Back to Ideas Generation Techniques Review:

(1) & (2)  Attribute Listing and the Morphological Analysis

I am not a fan of both Attribute Listing and the Morphological Analysis as I find them producing very mechanically random 'fast-food' styled outcomes. Though you can use them to produce hundreds and thousands of hybrid ideas which are just a little different from the next, they are not useful for the unmotivated and lowly engaged students. The morphological and attribute listing technique both require highly motivated and engaged students to evaluate, synthesize and make meaning out of the various random outcomes - which many are either not ready for the required thinking efforts that comes after or they simply do not have the caliber to wrap the ideas up into something more practical for refinement.

However it doesn't mean you avoid them. You can use them in the beginning to generate some initial ideas to kick-off the process especially if you do not know what to do and which ideas to begin with. By all means make use of the two techniques but you must understand the respective functions and what outcomes you are expected to end up with.

(3) Relay Thinking

This method of idea generation is fun and it is collaborative by nature. It is useful to gain new insights and perspectives from your friends for your project and to find out what other interesting ideas may evolve from your initial ideas they can think of which you did not. At the end of the session, you can then evaluate and select potential ideas or concepts to be included in your Ideas Generation section. 

(4) Shape Borrowing

This is perhaps one of the most commonly used technique for the lower secondary projects. It is very widely and effectively used in real world design examples where great products are outcomes from borrowing shapes, forms and functional concepts from nature. This technique is great - if you know what it is for and what you will be getting out of it. Otherwise this process if attempted will be as mechanically meaningless as the first two techniques I mentioned above.

The shape borrowing technique can be used for the following outcomes in your project (or product):

You can get inspired by shapes/forms + function fitting [more correctly 'by nature' (animals, fish, insects or plants, any objects, etc.)] for their first principle functionality application.

Example 1: A bottle opener project. Inspired by the beak of a parrot and/or the like. With an end-product that resembles the functional shape of an inspired source - the 'hooked' beak as a leverage to pry open a bottle cap.

Example 2: Getting inspired by the construction site's piling machine. The action of 'piling' columns in the ground seems to fit the idea of a heavy rod slamming on my walnut / almond nut. Then think of what other objects or from nature that uses something to crack nuts or crack open anything.

Example 3: Getting inspired by the shape of a Beetle to an end product, say to the profile of a new car design - form fitting that meaningfully resembles the inspired source. Perhaps for aerodynamic properties or just simply aesthetics or the like.

An example of a shape borrowing project can be found by clicking 'here'.

One example of shape borrowing gone wrong is to fit a supposedly inspired shape to a potential product that does not have an obvious relationship. I am talking about 'meaningfully' inspired applications here. Think about this, how about an 'inspired' dolphin form as a coin box? How do you relate a dolphin to money? coin? storage? Weird isn't it? It will make a perfectly functional container but that is all you can say about it. You cannot tag along the following keywords on that like 'innovative', 'fun' 'interesting', 'novelty', 'funny', etc. It is a plain boring functional product.

(5) The S.C.A.M.P.E.R. technique

The S.C.A.M.P.E.R. technique is good for 'creating' your first idea and evolving that single concept into other hybrids or something else better later on. Used with varying level of details, the technique is excellent both for Idea Generation (S.C.A.M.P.E.R. used loosely at a macro level generating new raw broad concepts freely) as well as for Concept Refinement (S.C.A.M.P.E.R. used at a micro level focusing on generating options from confirmed concept parts and working towards final decision making as a whole).

I leave this technique for the last because if you really understood what this is,the S.C.A.M.P.E.R. technique covers (almost) all other existing techniques (including the others mentioned above) you can find. Maybe I should just sayALL other Idea Generation techniques falls under part of or a combination of the S.C.A.M.P.E.R. acronym.

Have a quick look:

• "Attribute Listing" falls under mainly "S = Substitute". And as well as one or a combination of the following: "C = Combine", "A = Adapt" and "M = Modify".
• "Morphological Analysis" falls under mainly "S = Substitute" & "C = Combine". And as well as one or a combination of the following: "A = Adapt", "M = Modify".
• "Shape borrowing" falls under mainly "S = Substitue". And as well as one or a combination of the following: "C = Combine", "A = Adapt", "M = Modify", "P = Put to other use" and "R =Reverse/Rearrage".
• The S.C.A.M.P.E.R. technique is everything above and includes explicitly "E =Eliminate" which is not part of the activities in the other techniques. How the S.C.A.M.P.E.R. technique can be used meaningfully can be found by clicking 'here'.

Conclusion

So, that wraps up my opinion and views on the various (textbook) idea generation techniques you will come across sooner or later if you chose (or did not choose) to do Design & Technology. 

Idea generation is a fun process. The process is addictive. I can loose sleep and food over this.At the same time, many students who are put off when they arrive at this stage claim that they have no idea, can't draw and/or don't know where to begin.

In order to be having the kind of fun and addiction in Idea Generating, it is necessary the idea generator

• should have a reasonable level of sketching competency (technical competency)
• is comfortable and fluid in his idea generating ability (cognitive competency) and 
• wants to produce quality work (positive emotional presence). 

There are various drawing techniques and practices you can find in my blog as well as on the Design References label on the right hand side of the blog page which you can self-teach and practice. 

Your ability and confidence in generating ideas and communicating them through clear and readable sketches (and annotations) really depends on your willingness to upgrade you competency in drawing. There is no way you can achieve that without practice.

Finally, grow to like (if you did not) what you are doing in Design & Technology - especially to those who did not choose to do this subject or just found out that coursework requires a substantial commitment, effort and time to complete. I say so because I have met too many in my experience. 

To correct what I said about needing substantial effort and time required, if you (a) knew the design process well and (b) commit yourself in the beginning to identify a genuine need (or problem) that requires a solution, you will be able to complete the remainder of the coursework with minimum drag. You also have less of your teacher needing to bug you to produce work. 

The design process for your coursework is no rocket science. It's how everyone of us think everyday. We have a problem or a challenge (Design Need and Situation), we find solutions (generate ideas), we refine our solutions (develop the idea) so that it can eventually be made and put to good use (Realization, evaluation, testing and improvement).

------------------------------------------------------------------------------------------------------

P.S. Let me know if the information is useful or that you have been helped. Feedback and your opinions welcomed.